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1
Biemans, Jos. "No Miniatures, not even Decoration, yet Extraordinarily Fascinating New Hypotheses Concerning the Lancelot Compilation and Related Manuscripts." Quaerendo 39, no. 3-4 (2009): 225–56. http://dx.doi.org/10.1163/001495209x12555713997330.
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AbstractThis essay sheds new light on the controversial fourteenth-century poet and compiler Lodewijk van Velthem. Specifically, the article considers the possible relationships between The Hague, Koninklijke Bibliotheek, MS 129 A 10, the manuscript containing the famous Lancelot Compilation, and Leiden, University Library, MS BPL 14 E, the only extant manuscript with Velthem's entire Fifth Part of the Spiegel historiael. A note written at the end of the manuscript in The Hague naming Velthem has been interpreted in different ways, either as a note of the manuscript's ownership, or as the attribution of the compilation to Velthem. Other scholars have considered Velthem the 'corrector' of the manuscript. The relatively low quality of these two manuscripts, as well as the types of annotations made in the margins of MS 129 A 10, however, can be explained when we consider both books as the poet's working copies, as manuscripts which formed part of Velthem's own literary archive.
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Drechsler, Stefan. "The Illuminated Þjófabálkr in Fourteenth-Century Icelandic Jónsbók Manuscripts." Viking and Medieval Scandinavia 12 (January 2016): 1–40. http://dx.doi.org/10.1484/j.vms.5.112416.
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Nelson, Kathleen E. "A fragment of medieval polyphony in the Archivo Histórico Provincial of Zamora." Plainsong and Medieval Music 2, no. 2 (1993): 141–51. http://dx.doi.org/10.1017/s0961137100000498.
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The source to be discussed here is one of a collection of about 288 fragments of liturgical manuscripts. These form the section entitled Pergaminos musicales in the Archivo Histórico Provincial of Zamora in western Spain. Most of the fragments contain notated chant while a few give texts without music. Whilst studying the collection I found that one, Pergamino musical 184, contains polyphony. The significance of this new source probably lies principally in its relationship to the great polyphonic manuscript of Las Huelgas (Burgos, Monasterio de Las Huelgas) from late thirteenth- or early fourteenth-century Spain. Pergamino musical 184 (hereafter referred to as Z 184) probably dates from between the middle of the thirteenth century and the beginning of the fourteenth century, and therefore may pre-date Las Huelgas. The collection of Pergaminos musicales including Z 184 was recently taken from the binding of books of legal documents (protocolos) dating from the sixteenth, seventeenth and eighteenth centuries. Many more fragments of liturgical manuscripts are to be found still in the binding of books in the archive but an extensive search of these has yielded no further examples of polyphony
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Nederman, Cary J. "Kings, Peers, and Parliament: Virtue and Corulership in Walter Burley'sCommentarius in VIII Libros Politicorum Aristotelis." Albion 24, no. 3 (1992): 391–407. http://dx.doi.org/10.2307/4050943.
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Although he was one of the most eminent philosophers of the early fourteenth century, Walter Burley has seldom attracted much attention for his contributions to political theory. To some extent, this neglect may be blamed on the unfortunate history of the dissemination of Burley's major political work, theCommentarius in VIII Libros Politicorum Aristotelis(composed between 1338 and 1343). While widely circulated during the later Middle Ages, a fact indicated by the large number of extant manuscripts, theCommentariusdid not follow Burley's other commentaries on Aristotle's writings into print during the late fifteenth and early sixteenth centuries. To my knowledge, no satisfactory explanation has ever been adduced for this lacuna, but it has not been rectified to the present day; a printed edition of theCommentarius, based either on a single manuscript or a critical examination of all the manuscripts, has yet to appear. This absence of a printed version of the text is especially inexplicable in view of the rarity of commentaries on thePoliticsprior to the end of the fourteenth century.
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Rush, Katherine Anne. "An Arthurian Knight in Ivory and Ink." Eikon / Imago 10 (February 8, 2021): 423–39. http://dx.doi.org/10.5209/eiko.74163.
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Manuscript Bibliothèque nationale de France, MS fr. 12577 and ivory casket Musée du Louvre, OA 122, and are two of three extant fourteenth-century visualizations of Chrétien’s Le Conte du Graal, produced in Paris circa 1310-1330. Although the objects’ shared era of production suggests similarities of iconography, artistic influences, and production methods, little research has been conducted regarding visual and cultural connections between MS fr. 12577 and OA 122. Through iconographic and stylistic analysis of the scenes each artisan depicted within his respective medium, I elucidate how the casket and manuscript’s imagery personifies Perceval’s dual nature, a young knight symbolic of the secular and sacred. As visualizations of Chrétien’s most religiously-minded legend, MS fr. 12577 and OA 122 exemplify the intertwining of the sacred and secular within fourteenth-century French romantic art, specifically within illuminated manuscripts and carved ivory, materials that through their refinement, rarity, and expense, signified leisure, luxury, and nobility. By examining these two opulent objects, I provide insights into their purpose and significance in late medieval France, especially cultural crossover between the porous realms of sacred and secular medieval life.
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Cronier, Marie, and Patrick Gautier Dalché. "A Map of Cyprus in Two Fourteenth-Century Byzantine Manuscripts." Imago Mundi 69, no. 2 (2017): 176–87. http://dx.doi.org/10.1080/03085694.2017.1312113.
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Manzari, Francesca. "From Icons of Evil to Features of Princely Pleasure: Mongols in Fourteenth-Century Italian Illuminated Manuscripts." Ming Qing Yanjiu 22, no. 2 (2019): 191–214. http://dx.doi.org/10.1163/24684791-12340029.
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AbstractThe representation of Mongols in Late-Medieval Italian illuminated manuscripts undergoes a transformation in the fourteenth century. In literature connected to the Crusades and in historical writings they are usually portrayed as symbols of Evil or of the Deadly Vices. In other instances, nonetheless, they seem to lose this significant iconic value and to turn into an exotic component for the amusement of princely patrons. It is certainly not by chance that illuminations comprising Mongols were produced in the cities most strongly tied to the East by trading routes and commercial interests, like Venice and Genoa. The appearance of Mongols within more widespread iconographies, both sacred and secular, and their metamorphosis as exotic decorations are connected to manuscript illumination at the Angevin court in Naples. This contribution re-evaluates both types of instances, with the purpose of achieving a survey of these types of representation in Italian gothic illuminated manuscripts.
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Liuzza, Roy Michael. "The Yale fragments of the West Saxon gospels." Anglo-Saxon England 17 (December 1988): 67–82. http://dx.doi.org/10.1017/s0263675100004026.
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The manuscripts which contain the Old English translation of the gospels have been little studied since Skeat's compendious editions of the last century, yet the interest and importance of these codices, no less than that of the texts they preserve, should not be underestimated. The vernacular translation of a biblical text stands as a monument to the confidence and competence of Anglo-Saxon monastic culture; the evidence of the surviving manuscripts can offer insights into the development and dissemination of this text. The following study examines two fragments from an otherwise lost manuscript of the West Saxon gospels, which are preserved as an endleaf and parchment reinforcements in the binding of a fourteenth-century Latin psalter now in the Beinecke Library at Yale University, Beinecke 578. I shall first discuss the psalter and its accompanying texts in the attempt to localize the manuscript and its binding. I shall then turn to the West Saxon gospel fragments; after presenting a description and, for the first time, a complete transcription, I shall attempt to locate this text in the context of other Anglo-Saxon gospel manuscripts.
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Rogers, Nicholas. "The Original Owner of the Fitzwarin Psalter." Antiquaries Journal 69, no. 2 (1989): 257–78. http://dx.doi.org/10.1017/s0003581500085437.
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The Fitzwarin Psalter (Paris, B.N. MS lat. 765) is one of the most striking English manuscripts of the fourteenth century. Its miniatures are characterized by bold compositional experiment and a mannered figure style of extreme emotional intensity. The conventional name of the manuscript derives from the presence of two shields in the lower border of the Beatus page (fol. 23), which were identified by Francis Wormald as those of the families of Fitzwarin and Clevedon. But he was unable to find any evidence connecting the two families by marriage. He dated the Psalter to the third quarter of the century, and in this has been followed by Lucy Sandler. However, in an important study of the Fitzwarin Psalter and related manuscripts, Lynda Dennison demonstrated that, for stylistic reasons, the Psalter (with the exception of a bifolium, fols. 21-22) must be dated to the mid-1340s. This redating prompts a re-examination of the question of the identity of the original owner.
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Sleiderink, Remco, and Ben van der Have. "Een nieuw fragment van handschrift A van de Roman der Lorreinen (Michigan State University, Criminology Collection, XX KJC7690.A48 1687)." Tijdschrift voor Nederlandse Taal- en Letterkunde 137, no. 2 (2021): 102–21. http://dx.doi.org/10.5117/tntl2021.2.001.slei.
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Abstract Among the many books in Michigan State University’s Criminology Collection is a Corpus juris militaris, published in Germany in 1687. Its binding contains four small parchment strips with medieval Dutch verses. Although the strips are still attached in the spine, the verses can be identified as belonging to the Roman der Lorreinen, and more specifically as remnants of manuscript A, written in the duchy of Brabant in the second quarter of the fourteenth century. Manuscript A originally must have consisted of over 400 leaves, containing more than 150.000 verses (note: there are no complete manuscripts of the Roman der Lorreinen). Only 7% of manuscript A has been preserved in several European libraries, mainly in Germany. The new fragment suggests that manuscript A was used as binding material not earlier than the end of the seventeenth century (after 1687). The newly found verses are from the first part of the Roman der Lorreinen, which was an adaptation of the Old French chanson de geste Garin le Loherenc. This article offers a first edition and study of the verses, comparing them to the Old French counterparts. This comparison offers additional evidence for the earlier hypothesis that manuscript A contained the same adaptation of Garin le Loherenc as the fragmentary manuscripts B and C.
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Lobachev, Sergey. "Media and Message in Medieval Russia: Transition from Parchment to Paper." Canadian–American Slavic Studies 47, no. 3 (2013): 307–20. http://dx.doi.org/10.1163/22102396-04703007.
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The article examines the changes in the media of communication in medieval Russia. Based on quantitative data of surviving manuscripts and administrative documents, it argues that the introduction of paper in the fourteenth century had limited impact on secularization of knowledge and education. In the long run, however, it stimulated rapid production and dissemination of manuscripts and encouraged a new type of literacy that cherished thoughtful reading and reflection on content. Paper was mostly used in North-East territories, whereas in Novgorod parchment remained the dominant writing material up to the end of the fifteenth century.
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Gołdys, Norbert. "Genealogia płocka – nowe spojrzenie na źródło małopolskie z drugiej połowy XIII wieku." Studia Historyczne 61, no. 1 (241) (2019): 5–44. http://dx.doi.org/10.12797/sh.61.2018.01.01.
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The Płock Genealogy – a New Interpretation of the Małopolska Source of the Second Half of the Thirteenth Century
 The aim of the article is to determine when the Płock Genealogy (Genealogia płocka) was created and the content of its ideological message. The text of the work has survived in one of the manuscripts in the library of Płock Charter. The subject of this text is a short description of subsequent generations of the Piast Dynasty from the earliest times to the end of the thirteenth century. This analysis includes establishing the relationship between the manuscript and other existing historical works and annals from up to the mid-fourteenth century, a detailed comparison of the information they contain with existing findings on the genealogy of the Piast Dynasty, as well as a review of the structure of the work.
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Classen, Albrecht. "Historia Apollonii regis Tyri: A Fourteenth-Century Version of a Late Antique Romance. Ed. from Vatican City, Biblioteca Apostolica Vaticana, MS Vaticanus Latinus 1961, by William Robins. Toronto Medieval Latin Texts. Toronto: Pontifical Institute of Mediaeval Studies, 2019, xi, 123 pp., 1 b/w ill." Mediaevistik 32, no. 1 (2020): 497–98. http://dx.doi.org/10.3726/med.2019.01.136.
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One of the great medieval bestsellers, actually since the second or third century C.E., was the Historia Apollonii regis Tyri, extant not only in countless Latin manuscripts and then early modern prints, but also in numerous vernaculars. The present edition of Ms. Vaticanus Latinus 1961 makes available a highly trustworthy version from the middle of the fourteenth century copied in northern or central Italy, which contains part of a world chronicle, the Historie by Riccobaldo of Ferrara, into which the Historia Apollonii is embedded. Marginal notes indicate that this manuscript was in the possession of Giacomo di Giovanni Orsini in 1397, a good dating instrument, the terminus ad quem for our text. The language is mostly in classical or late antique Latin, but there are inferences from medieval Italian.
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MacRobert, Catherine Mary. "The Place of the Mihanović Psalter in the Fourteenth-Century Revisions of the Church Slavonic Psalter." Studia Ceranea 6 (December 30, 2016): 75–98. http://dx.doi.org/10.18778/2084-140x.06.05.
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Modern scholarship on the textual history of Church Slavonic biblical translation recognizes two distinct revisions of the Church Slavonic Psalter from the early fourteenth century, Redaction III (sometimes called the ‘Athonite’ redaction) and Redaction IV, known only in the Norov psalter manuscript. Although they are both attested from the same period and in manuscripts of similar Bulgarian provenance, these two redactions are in some respects systematically different in their linguistic character, their approach to translational issues and their Greek textual basis. In the light of A.A. Turilov’s observation that the Mihanović Psalter, possibly the earliest witness to Redaction III, is written in the same hand as the greater part of the Norov Psalter, this paper examines the textual antecedents of the two redactions and the importance of the Mihanović Psalter as a link between them.
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Smilansky, Uri. "CREATING MS C: AUTHOR, WORKSHOP, COURT." Early Music History 39 (September 4, 2020): 253–304. http://dx.doi.org/10.1017/s0261127920000042.
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Machaut's set of complete works manuscripts forms a central pillar of our understanding of musical and generic developments and their courtly reception in fourteenth-century France. By applying the continuing scholarly advances made during the study of courtly practice and the professional Parisian book-trade to the earliest of these artefacts, this contribution reassesses the creation-history of the manuscript Paris, Bibliothèque nationale de France, fonds français 1586. The results tap into a number of enduring discussions within Machaut scholarship. These range from questions of patronage, to aspects of Machaut's authorial control and involvement in the production of his books, to the importance of order on the single-work level within a generic grouping, and to the practicalities of manuscript creation and intentionality. Finally, proposed adjustments to the dating of some compositions call for a review of existing notions of generic development and polyphonic composition in the early part of the century, thus resonating beyond Machaut's personal output.
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Vidas, Marina. "Resemblance and Devotion: Image and Text in a Parisian Early Fourteenth–Century Book of Hours Made for a French Noblewoman." Fund og Forskning i Det Kongelige Biblioteks Samlinger 53 (March 2, 2014): 33. http://dx.doi.org/10.7146/fof.v53i0.118820.
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Marina Vidas: Resemblance and Devotion: Image and Text in a Parisian Early Fourteenth-Century Book of Hours (Copenhagen, Royal Library, Ms Thott 534 4º) Made for a French Noblewoman
 The focus of this article is Ms Thott 534 4º, a small Parisian early fourteenth-century illuminated Book of Hours in the collection of the Royal Library, Copenhagen, about which up until now, very little has been published. Firstly, the textual and pictorial contents of the manuscript are listed. Secondly, the specific elements in the book which indicate that it was made for a woman are analysed. The article pays particular attention to the representation of the book’s owner and to other images of women in Ms Thott 534 4º. Additionally, possible readings of the juxtaposed images and texts relevant to the original owner of the manuscript are explored. Thirdly, the significance of the presence of Norman saints in the Calendar and memoriae, as well as of hagiographic material invoking saints that had a cult following in France and England are discussed. Fourthly, the components which reveal that the original book owner had connections to Paris are enumerated and analysed. It is shown that there are stylistic and iconographic similarities between Ms Thott 534 4º and two other Parisian personal devotional manuscripts, the Psalter and Hours of Blanche de Bourgogne (New York, New York Public Library, Ms Spencer 56) and a Psalter-Hymnal (Baltimore, Walters Art Gallery, W. 115) which, in all likelihood, was made for Blanche de Bretagne (c. 1270–1327). These similarities suggest that the three manuscripts are likely to date from around the same time. Drawing on the hagiographic and pictorial material in Ms Thott 534 4º, it is concluded that the Book of Hours was executed around 1310 for a lady with connections to Paris, Evreux, and possibly England. More specifically, Marguerite d’Artois, Countess of Evreux (1285–1311), is proposed as a possible candidate as the original owner of the manuscript.
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Leech-Wilkinson, Daniel. "Le Voir Dit and La Messe de Nostre Dame: aspects of genre and style in late works of MacHaut." Plainsong and Medieval Music 2, no. 1 (1993): 43–73. http://dx.doi.org/10.1017/s0961137100000413.
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Le Voir Dit is one of the most fascinating of the works left by the celebrated poet-composer Guillaume de Machaut (d. 1377), and at the same time, as John Stevens has said, ‘one of the most curious documents of the [fourteenth] century’. Through 9000 lines of narrative, sixty-two lyrics in all the main forms (nine of them set to music), and forty-six letters which include comments on the character of the songs and on the business of producing poetry, music and manuscripts, we seem to take a guided tour of Machaut's emotional and professional life over three years of his old age. For more than a century it has proved a rich source of revealing quotations, sustaining many varied arguments. The story it tells of Machaut's literary and emotional affair with a young girl, Peronne, has been read at times as autobiography, at times as fiction; and the incidental comments on composition, performance and copying have been interpreted in studies ranging far beyond Le Voir Dit as evidence of fourteenth-century professional practice. None the less, the constituent parts of the text as they survive in manuscripts from Machaut's circle are disordered, the poem lacks an adequate published edition, and even its music – in size, at least, the most manageable of its components – has yet to be considered as a whole.
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Simpson, Marianna Shreve. "Early Persian Painting: "Kalila and Dimma" Manuscripts of the Late Fourteenth Century. Bernard O'Kane." Speculum 80, no. 3 (2005): 942–44. http://dx.doi.org/10.1017/s0038713400008654.
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Goodall, John A. "Heraldry in the Decoration of English Medieval Manuscripts." Antiquaries Journal 77 (March 1997): 179–220. http://dx.doi.org/10.1017/s0003581500075193.
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The use of heraldic decoration in medieval books has been somewhat neglected, only a few have been the subject of detailed studies and some of these are less than satisfactory. The Tickhill Psalter group had the advantage of having been the first to use the medieval rolls for comparanda, although the importance of the background decoration and line fillers as part of the overall pattern was not realised, accordingly a re-examination of all of these books is desirable. Unfortunately the book also gave renewed currency to the erroneous identification of the heraldry in the so-called Grey–FitzPayne hours at Cambridge which has long been regarded as closely dated to 1308 and hence a key manuscript for the chronology of the early fourteenth century books.
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Slavin, Dennis. "Questions of Authority in Some Songs by Binchois." Journal of the Royal Musical Association 117, no. 1 (1992): 22–61. http://dx.doi.org/10.1093/jrma/117.1.22.
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Few extant collections of late-medieval polyphony have been linked definitively to composers whose works they transmit. A dearth of documents that are literally ‘authoritative’ – in the sense that they come directly from the hand of the author – is not surprising in light of the small survival rate of fourteenth- and fifteenth-century manuscripts and the likelihood that pieces were not written down for the first time in versions for presentation. Most surviving manuscripts appear to be several generations removed from written originals. Nevertheless, presentation manuscripts and other anthologies were not necessarily compiled by scribes in isolation. When composers were nearby they probably were consulted, either directly or through scribal access to authoritative written exemplars. Therefore, despite a paucity of documented relationships, some extant manuscripts may have been compiled in close association with the composers whose music they contain, perhaps even under their guidance.
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Vidas, Marina. "Un Deu Enemi. Jews and Judaism in French and English Medieval Illuminated Manuscripts in the Royal Library." Fund og Forskning i Det Kongelige Biblioteks Samlinger 55 (March 3, 2016): 105. http://dx.doi.org/10.7146/fof.v55i0.118912.
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Marina Vidas: Un Deu Enemi. Jews and Judaism in French and English Medieval Illuminated Manuscripts in the Royal Library
 The article analyzes images of and texts about Jews and Judaism in five medieval illuminated manuscripts in the collection of the Royal Library, Copenhagen. I begin by examining the references to Jews in a bestiary (MS GKS 3466 8º) composed in the twelfth century by Philippe de Thaon for Queen Adeliza of England and copied a century later in Paris. Then I analyze depictions of Jews in a French early thirteenth-century personal devotional manuscript (MS GKS 1606 4º) as well as in a number of related de luxe Psalters and Bibles in foreign collections. Textual references to Judaism and Jews are examined in a compilation of saints’ lives (MS Thott 517 4º) as well as depictions of individuals of this faith in an Hours (MS Thott 547 4º), both made in fourteenth-century England for members of the Bohun family. Lastly, I analyze images illustrating legends derived from the Babylonian Talmud in a Bible historiale (MS Thott 6 2º), executed for Charles V of France (r. 1364–1380).I argue that images depicting Jews in narrative cycles had a number of meanings, some of which can be interpreted as anti-Jewish. I suggest that the images also played a role in shaping the piety of their audiences as well as the intended viewers’ understanding of their social identity. Indeed, depictions of Jews in the manuscripts seem mostly unrelated to the actually existing Jews. Members of the Hebrew faith were often represented in contexts in which their appearance, beliefs, and activities were distorted to emphasize the holiness, goodness, and perfection of Christ and the Virgin Mary. It is also suggested that their representations may have spurred a reflection on, and sometimes even a criticism of, Christian behavior and attitudes.
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Pludra-Żuk, Paulina. "Tradycja rękopiśmienna Kroniki dwudziestu czterech generałów Zakonu Braci Mniejszych na ziemiach polskich – nowe rękopisy." Z Badań nad Książką i Księgozbiorami Historycznymi 5 (September 15, 2020): 185–210. http://dx.doi.org/10.33077/uw.25448730.zbkh.2011.275.
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The article presents the state of research on the Franciscan Chronicle of the Twenty-Four Generals, composed during the second half of the fourteenth century by the Minister General of Aquitaine Arnald of Sarrano. The author pays particular attention the textual tradition, supplementing the information concerning the sixteen medieval copies of the chronicle hitherto discussed in the historical literature, with the presentation of further two manuscripts, both of which are of Polish provenance. These manuscripts, preserved at the Polish National Library in Warsaw (call nos.: BOZ 1114 and BN 8084), came into being towards the end of the fifteenth century, respectively in the Observantist monasteries of Koło and Sambor. A complete codicological description is furnished with analyses of text variations, which demonstrate that both the copies in question belong to the so called „northern” group, composed chiefly of manuscripts from Halle, Lviv, Vienna, and the copy preserved in the Bibliothèque Municipale in Strasbourg, but executed in Cracow. The presented evidence also demonstrates that the chronicle was popular among the Observantists, who in Poland were known as the Bernardines.
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Howard-Hill, T. H. "The Evolution of the Form of Plays in English During the Renaissance." Renaissance Quarterly 43, no. 1 (1990): 112–45. http://dx.doi.org/10.2307/2861794.
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The modern arrangement of the texts of plays evolved from the confluence of two distinct methods of setting out plays for readers and theatrical use. The earliest, which I shall call the native tradition, had its seeds in the European liturgical drama and is most clearly manifested in the manuscripts of the early moral plays and of guild plays associated with Corpus Christi from the fourteenth century to the cessation of the performances late in the sixteenth century. The second is the classical method, exemplified by the early printings of the plays of Terence, Plautus, and Seneca from 1470 onwards and adopted by the university educated writers of secular plays in the sixteenth century.
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Zivkovic, Milos. "On Byzantine origins of figural miniatures of Belgrade Alexandride." Zograf, no. 37 (2013): 169–200. http://dx.doi.org/10.2298/zog1337169z.
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The late antique literary biography of Alexander the Great known as Pseudo-Callisthenes? Alexander Romance was remarkably popular reading both in Byzantium and in the West in the middle ages. This literary work was also translated into Serbian Slavonic. Two extensively illustrated manuscripts of the ?Serbian Alexandride?, and one decorated with only a few drawings are known. The paper discusses the iconographic features of the oldest of the known manuscripts, the so-called Belgrade Alexandride, which is commonly dated to the second half or the end of the fourteenth century. The research is particularly focused on the costumes of the depicted figures. The findings of the research suggest that the iconographic solutions of the miniatures are of Byzantine origin and that earlier views suggesting West-European influences on their shaping are not founded.
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Sedovic, Katherine. "Materially Different, Visually Similar: Collaborative Production Practices Among Arthurian Manuscripts and Ivories in Fourteenth-Century Paris." Pecia 19 (January 2016): 157–201. http://dx.doi.org/10.1484/j.pecia.5.114333.
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Kawatoko, Mutsuo. "Multi-disciplinary approaches to the Islamic period in Egypt and the Red Sea Coast." Antiquity 79, no. 306 (2005): 844–57. http://dx.doi.org/10.1017/s0003598x0011498x.
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We are privileged to offer a summary of the massive campaign of excavation and survey conducted by the author and his team from Japan in northern Egypt and the neighbouring coast of Sinai. Over the last few years they have excavated a large sector of al-Fustat (the early Islamic settlement on the outskirts of modern Cairo), mapped the early Christian monastery at Wadi al-Tur (sixth–twelfth century AD), recorded early Islamic rock inscriptions on Mt Naqus eighth–twentieth century AD), mapped the port and mosque at Raya (originating in the sixth–twelfth or thirteenth century AD) and investigated on a large scale the fourteenth–twentieth-century sequence at al-Kilani (al-Tur). Among the objects unearthed at al-Kilani were 4000 fragments of manuscripts. The work is throwing new light on early Islam, its development of social and commercial networks, and its relation with Christian, Coptic and Byzantine cultures.
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Dupuis, Olivier. "The Roots of Fencing from the Twelfth to the Fourteenth Centuries in the French Language Area." Acta Periodica Duellatorum 3, no. 1 (2015): 37–62. http://dx.doi.org/10.1515/apd-2015-0002.
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Abstract This article offers a partial overview on fencing, as recognized through archive records, as well as French epics and romances from the twelfth to the early fourteenth century. In the twelfth century, fencing was only attested through knightly vocabulary as a way to describe actions performed during single combats involving a combination of shield and another weapon, most commonly a sword. Fencing was progressively dissociated from the knightly arts and there were even few mentions of its use by common people. There are archive records from the thirteenth century of individuals bearing the nickname “fencer”, although there is rarely enough context to be certain that they were really practicing the art. At the end of the thirteenth century, archives and narrative fiction show an established fashion for a certain form of fencing with a short round shield, the buckler. This is clearly established in London where surviving manuscripts include many regulations on fencing, however the fashion was also spread in the continent, even though it seems to be less documented.
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Kiss, Dániel. "ISAAC VOSSIUS, CATULLUS AND THE CODEX THUANEUS." Classical Quarterly 65, no. 1 (2015): 344–54. http://dx.doi.org/10.1017/s0009838814000615.
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For Bernd Niebling and his colleagues at the Lesesaal Altes Buch of the Universitätsbibliothek München While the earliest complete manuscripts of Catullus to survive today were written in the fourteenth century, it is well known that poem 62 already appears in an anthology from the ninth century, the Codex Thuaneus (Paris, Bibliothèque nationale de France, Parisinus lat. 8071). However, the Thuaneus may once have contained one more poem of Catullus. In his commentary on the poet, which appeared in 1684 but had been written decades earlier, the Dutch scholar Isaac Vossius makes the following comment on the last two lines of poem 11: Praetereunte postquam Tactus aratro est ] Vetustissimum exemplar Thuanæum in quo hoc Catulli carmen variorum epigrammatis subjungitur, legit fractus, non tactus. Et hoc probo, nisi malis stratus, nam in quibusdam libris tractus legebatur. It is surprising to find a reference to a lost part of such a well-known manuscript in a source from the seventeenth century. One may well ask whether Vossius really read this poem in the Codex Thuaneus. Could he have seen this manuscript? Can he be relied on to report its contents truthfully? And could a part of the volume have been lost since the seventeenth century? I will argue that the answer to all these questions is yes, and that it is very likely that the Thuaneus once contained Catullus 11 as well as 62. I will set out the consequences of this for our understanding of Catullus' manuscript tradition. Next, I will discuss another ancient manuscript of Catullus that Vossius claims to have read, namely his ‘vetus liber Mediolanensis’. The article will close with an appendix on the history of the Thuaneus before it was studied by Vossius.
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Melo, Maria João, Paula Nabais, Maria Guimarães, et al. "Organic dyes in illuminated manuscripts: a unique cultural and historic record." Philosophical Transactions of the Royal Society A: Mathematical, Physical and Engineering Sciences 374, no. 2082 (2016): 20160050. http://dx.doi.org/10.1098/rsta.2016.0050.
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In this study, we successfully addressed the challenges posed by the identification of dyes in medieval illuminations. Brazilwood pigment lakes and orcein purple colours were unequivocally identified in illuminated manuscripts dated by art historians to be from the thirteenth to the fifteenth centuries and in the Fernão Vaz Dourado Atlas (sixteenth century). All three works were on a parchment support. This was possible by combining Raman microscopy and surface-enhanced Raman spectroscopy with microspectrofluorimetry. To the best of our knowledge, this is the first time that brazilein, the main chromophore in brazilwood lake pigments, has been unequivocally identified by surface-enhanced Raman spectroscopy in an illuminated work (the Dourado Atlas ). Complementing this identification, through microspectrofluorimetry and micro-Fourier transform infrared spectroscopy, it was possible to propose a complete paint formulation by comparison with our database of references; the dark pink hues, in the three case studies, were produced by combining brazilwood pigment lakes and gypsum in a protein- and gum arabic-based tempera. Orcein purple, also known as orchil dye, has been previously identified in medieval manuscripts, dated from the sixth to the ninth centuries. Our findings in fourteenth–sixteenth century manuscripts confirm the hypothesis that this dye was lost during the High Middle Ages, to be later rediscovered. This article is part of the themed issue ‘Raman spectroscopy in art and archaeology’.
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Classen, Albrecht. "Renana Bartal, Gender, Piety, and Production in Fourteenth-Century English Apocalypse Manuscripts. London and New York: Routledge, 2016, xv, 181 pp., 4 color plates, 79 b/w ill." Mediaevistik 32, no. 1 (2020): 539–40. http://dx.doi.org/10.3726/med.2019.01.160.
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The late Middle Ages witnessed a tremendous growth in interest concerning the end of all life, the apocalypse. This found most vivid expression in relevant illuminated manuscripts, three of which Renana Bartal discusses in her study here: Cambridge, Magdalene College, MS Pepys 1803; Oxford, Bodleian Library, MS Selden Supra 38; and Brussels, Bibliothèque royale, MS II 282, all of them produced in England at the end of the fourteenth century. All of them have already received extensive coverage by previous scholarship, and Bartal simply continues with that tradition, trying hard to offer new perspectives, which are, to be honest, hard to come by now.
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Юдин, Далмат. "The "lost" fifteenth-century collection of manuscripts from the Spaso-Evfimiev Monastery in Suzdal." Слово и образ. Вопросы изучения христианского литературного наследия, no. 1(1) (September 15, 2020): 63–84. http://dx.doi.org/10.31802/wi.2019.1.1.004.
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Статья посвящена анализу состава четьего сборника сер. XV в. из собрания рукописей Спасо-Евфимиева монастыря в Суздале, хранящегося во Владимиро-Суздальском музее-заповеднике. Описание XIX в. называет сборник - «Измарагд». Нынешняя краткая опись музея именует его «Слова Иоанна Златоуста ("Златоуст")». Проведённый анализ позволяет сказать, что сборник состоит из четырёх частей, из которых основными являются три: 1. Измарагд «древнейшей» редакции; 2. Житие свт. Иоанна Златоуста, приписываемое Григорию, архиепископу Александрийскому (VII в.); 3. Златоструй Краткой редакции. В приложении публикуется «Слово о наказаньи» из части «Измарагд» Суздальского сборника - русское домонгольское произведение, которое не встречается в других ранних списках. The article is devoted to the analysis of the contents of the fourteenth-century collection of manuscripts from the Spaso-Evfimiev Monastery in Suzdal, which is kept in the Vladimir-Suzdal Museum-Reserve. The 19th century description calls the collection "Ismaragd". The current brief inventory of the museum calls it "The words of John Chrysostom ("Chrysostom")". Based on our analysis, we can say that the collection consists of four parts, of which the main three are: 1) Iszmaragd of the "oldest" edition; 2) The Life of St. John Chrysostom, attributed to Gregory, Archbishop of Alexandria (7th century); 3) The Short Edition of Chrysostom. The Appendix contains the 'Word on Punishment' from the 'Izmaragd' part of the Suzdal Collection, a Russian pre-Mongolian work which does not appear in other early folios.
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Neven, Sylvie. "Recording and Reading Alchemy and Art-Technology in Medieval and Premodern German Recipe Collections." Nuncius 31, no. 1 (2016): 32–49. http://dx.doi.org/10.1163/18253911-03101001.
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In the Middle Ages and the premodern period knowledge of alchemical practices and materials was transmitted via collections of recipes often grouped concomitantly with art-technological instructions. In both alchemy and chemical technology particular importance is placed on artisanal and craft practices. Both are concerned with the description of colours. Both require procedures involving precise and specifically defined actions, prescriptions and ingredients. Assuming that alchemical and artistic texts have the same textual format, this raises the question: were they produced, diffused and read by the same people? This paper investigates the authorship and the context of production behind a sample of German alchemical manuscripts dating from the fourteenth to the sixteenth century. It scrutinizes their process of production, compilation and dissemination. This paper also sheds light on the various types of marginalia, and correlates them with their diverse functions. It thus delivers significant information about the readers and users of these manuscripts.
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Van Oppenraay, Aafke M. I. "The Reception of Aristotle's History of Animals in the Marginalia of Some Latin Manuscripts of Michael Scot's Arabic-Latin Translation." Early Science and Medicine 8, no. 4 (2003): 387–403. http://dx.doi.org/10.1163/157338203x00215.
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AbstractA considerable number of the thirteenth and early fourteenth-century manuscripts of Michael Scot's Arabic-Latin translation of Aristotle's De animalibus (ca. 1215) display a system of guiding marginal glosses. These glosses are usually added by a later hand with respect to the hand that had written the text. The manuscripts were not only annotated for personal use, but also so as to allow for a better use in compiling commentaries, encyclopaedias and compendia. We can say that the marginalia form the main, if not only, key to our understanding today of the use that readers made of the text. Apart from offering a mere explanation of the contents, we can see that their interest in the text was chiefly related to biblical exegesis and to scientific and medical knowledge. The approach to the text was often allegorical and moralizing in character. Some remarks reflect the reader's own experience and associations in relation to the text.
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Martani, Sandra. "The theory and practice of ekphonetic notation: the manuscript Sinait. gr. 213." Plainsong and Medieval Music 12, no. 1 (2003): 15–42. http://dx.doi.org/10.1017/s0961137103003024.
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The cantillation of the Scriptures played an important role in the complex matrix of symbols that is the Byzantine liturgy. Beginning in the ninth century, a special type of notation called ‘ekphonetic’ was developed to indicate in the lectionaries the formulae used in the chanting of the appointed scriptural pericopes. Gradually, over the course of the thirteenth and fourteenth centuries the system fell into disuse, and the meaning of the notational signs was forgotten. Unfortunately, no surviving Byzantine theoretical treatises explain the system; hence the only sources of information about it (apart from the lectionaries themselves) are lists of ekphonetic neumes found in some manuscripts. Of particular value in this regard is the manuscript Sinaiticus graecus 213. Not only is this one of the oldest datable Greek evangeliaries, but it contains the most ancient list of neumes heretofore discovered, having escaped the attention of musicologists probably because of its unusual location in the manuscript. The present study, proceeding from an analysis of the theoretical information contained in the Sinait. graec. 213 list, will seek to establish the practical application of the neumes within the body of the manuscript, thus contributing to a clarification of the structural characteristics of the earliest, so-called ‘preclassic’, phase of the notational system.
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Proctor, Caroline. "Physician to The Bruce: Maino De Maineri in Scotland." Scottish Historical Review 86, no. 1 (2007): 16–26. http://dx.doi.org/10.3366/shr.2007.0047.
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This article pieces together evidence from fourteenth-century Scottish royal records to identify one of the physicians to King Robert I as the Milanese Maino de Maineri (ca 1295–1368), regent master of the University of Paris and later court physician and astrologer to the Visconti rulers of Milan. The implications for the history of medicine in medieval Scotland are significant, suggesting that, at least at court level, Scots demanded and could afford and attract a high quality of medical treatment. Also emphasised are the strong links that existed between Scotland, Ireland and continental Europe, through the travels of physicians and the transmission of medical literature. Three fifteenth-century manuscripts of one of Maino's works are used as an example of just this type of transmission. The article urges a reevaluation of medical culture in medieval Scotland.
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Desmond, Karen. "New light on Jacobus, Author of Speculum musicae." Plainsong and Medieval Music 9, no. 1 (2000): 19–40. http://dx.doi.org/10.1017/s0961137100000024.
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Since the realization, at the beginning of this century, that the treatise Speculum musicae had been incorrectly attributed to Jehan des Murs by its first editor, Edmond de Coussemaker, the actual author of this voluminous work of music theory from the early fourteenth century has remained a shadowy figure. The most certain detail of the author's identity is his name, contained within an acrostic spelled out over the initials that begin each of the seven books of the treatise, rendering the given name IACOBUS. The provenances of the three surviving manuscript sources, all dating from approximately a century after the proposed date of Speculum musicae, suggest an Italian bias to the transmission of the work, but, as physical documents, the manuscripts have yet to yield any clues to the author's origins. The treatise itself is a bit more helpful. Besides offering the author's name, clues within the text have allowed for the formulation of the following hypothesis concerning the career of Jacobus: that he was probably born in the diocese of Liège, that he was a student in Paris in the late thirteenth century, and that he returned to Liège to complete the final books of his treatise, Books 6 and 7 of Speculum musicae. In what follows, I will first briefly evaluate the evidence previously marshalled to support this hypothesis, and I will then discuss new information pertinent to the biography of the author.
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Moore, Kathryn Blair. "The Disappearance of an Author and the Emergence of a Genre: Niccolò da Poggibonsi and Pilgrimage Guidebooks between Manuscript and Print*." Renaissance Quarterly 66, no. 2 (2013): 357–411. http://dx.doi.org/10.1086/671582.
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While the anonymous Viaggio da Venetia al Sancto Sepolchro et al Monte Sinai, first published in Venice in 1518, was the most popular Holy Land guidebook in Renaissance Italy, the historical origins of the book have never been fully understood. From four illustrated versions of an earlier manuscript guide, the Libro d’Oltramare (1346–50), one can hypothesize about both the text and its author. The ultimate prototype for the Viaggio da Venetia was very likely one or more of these illustrated manuscripts, and the original author of both the text and illustrations was the Franciscan pilgrim Niccolò da Poggibonsi. Despite the eventual erosion of his name from the printed versions of the guidebook, the assertiveness and originality of the author parallels the production of other vernacular literature in mid-fourteenth-century Italy. Unlike Latin guidebooks of previous centuries, the intent to include illustrations that re-create the pilgrimage experience and the unprecedented descriptiveness of the prose together suggest that the book can be considered the foundational text for the genre of the illustrated pilgrimage guidebook.
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Meecham-Jones, Simon. "Blanche, Two Chaucers and the Stanley Family." Critical Survey 30, no. 2 (2018): 94–119. http://dx.doi.org/10.3167/cs.2018.300206.
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The textual history of The Book of the Duchess challenges many spurious traditions encouraged by the apparently disordered state of Chaucer’s texts on his death. The lack of contemporary references casts doubt on whether the poem was circulated in the fourteenth century or commissioned by John of Gaunt as an elegy for his wife. The first witnesses, in three mid-fifteenth-century manuscripts, contain substantial lacunae, ‘resolved’ in Thynne’s printed edition of 1532. This article examines Bodleian MS Fairfax 16, which bears the arms of John Stanley of Hooton, a leading court functionary from a rising family. It argues that the selection of texts in that MS reflects Stanley’s contact with a cultural milieu centred on the Duke of Suffolk, while the inclusion of The Book of the Duchess and The House of Fame may result from Suffolk’s wife Alice Chaucer making available material from her grandfather’s personal papers.
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Kulsum, Umi. "Perubahan Makna pada Kata Serapan Bahasa Arab dalam Bahasa Indonesia." Buletin Al-Turas 16, no. 3 (2018): 271–84. http://dx.doi.org/10.15408/bat.v16i3.4284.
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This article discusses the change of meaning in Indonesia words borrowed from Arabic.The introduction of the Arabic into Indonesian is inextricably linked to the islamization of NUsantara. THe first significant evidenceof Arabic influence in Nusantara dates from the fourteenth century, and this influences continues to the present dar of Indonesa. The borrowing of Arabic words to Indonesian occurs through adaption of Arabic manuscripts. When there are no Indonesian equal words, the Arabic will be entirely used. In its development, the changes of Arabic meaning are frequently take place either generalization (extention), specialization (narrowing), metaphor, amelioration or pejoration of meaning. Those changes are caused by some factors, namely 1) social and cultural development 2) association 3) perception difference and4) term development.
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Alcolado Carnicero, José Miguel. "Merchant Taylors of London’s shift to business English: New insights on the languages of record in their Master and Wardens’ Accounts." Journal of Historical Sociolinguistics 4, no. 1 (2018): 1–32. http://dx.doi.org/10.1515/jhsl-2017-0037.
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AbstractFrench and Latin used to be the two main languages of record in the Merchant Taylors, as well as other London livery companies, as late as the fifteenth century, at least. From the fourteenth century onwards, English was becoming more and more present in this guild’s business accounts, until it replaced both Romance languages as their new official medium of written communication. Seen the inconsistent dates of adoption of English in the Merchant Taylors’ Master and Wardens’ Accounts suggested in the literature, this article applies two different approaches to language shift in the late medieval period in order to analyse and illustrate when exactly the whole Company is supposed to have substituted French and Latin for English forever. As the search of that permanent and communal shift leads to the necessary consultation of financial manuscripts kept as late as the seventeenth century, it is concluded that the construction of a unitary framework for the study of the different language shifts in the London livery companies at different periods would yield more comprehensive results.
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Camargo, Martin. "“Si dictare velis”: Versified Artes dictandi and Late Medieval Writing Pedagogy." Rhetorica 14, no. 3 (1996): 265–88. http://dx.doi.org/10.1525/rh.1996.14.3.265.
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Abstract: Among the hundreds of medieval treatises on letter writing (artes dictandi) are at least four that are written entirely in hexameter verse. Moreover, the verse treatises by Jupiter Monoculus and Otto of Lüneburg are preserved in dozens of fourteenth- and fifteenth-century manuscripts, where they are usually accompanied by commentaries. The surprising popularity of these texts is due in part to their curricular association with the most successful general composition textbook of the Middle Ages, Geoffrey of Vinsauf's Poetria nova, which is also written in hexameters. In addition, they served the same pedagogical functions as the verses that are embedded in many prose artes dictandi: they give pleasure through variety, they provide concise summaries of doctrine, and they facilitate memorization through the use of meter and (often) rhyme.
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Keiser, George R. "Curye on Inglysch: English Culinary Manuscripts of the Fourteenth Century (Including the "Forme of Cury"). Constance B. Hieatt , Sharon Butler." Speculum 63, no. 2 (1988): 410–12. http://dx.doi.org/10.2307/2853258.
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Sunderland, Luke. "Visualizing Elemental Ontology in the Livre des propriétés des choses." Romanic Review 111, no. 1 (2020): 106–27. http://dx.doi.org/10.1215/00358118-8007978.
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Abstract This essay offers an encounter with Bruno Latour’s account of ontological pluralism by way of a close reading of the Livre des propriétés des choses, Jean Corbechon’s fourteenth-century French translation of Bartholomaeus Anglicus’s encyclopedia. Engagement with Latour’s Inquiry into Modes of Existence enables a new reading of medieval encyclopedias that takes seriously Latour’s suggestion that premodern cosmologies retain importance for modern ecological thought while simultaneously challenging his arguments about the rigidity of ontologies based on ideas of nature, substance, and matter. This essay argues that the Livre deploys precisely such an ontology in dynamic and flexible ways. The varying visual programs in Livre manuscripts each configure the encyclopedia’s ontology differently, either making humans privileged observers of nature or positioning them as subject to its laws while adopting varying solutions for communicating ontological contentions to readers.
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Anderson, Michael Alan. "The One Who Comes After Me." Journal of the American Musicological Society 66, no. 3 (2013): 639–708. http://dx.doi.org/10.1525/jams.2013.66.3.639.
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Abstract Studies of the past two decades have shown that late medieval and Renaissance composers participated in a culture of symbolic representation by inscribing Christian figures and concepts into musical design. One figure who has been overlooked in this line of scholarship is John the Baptist, the precursor of Christ. This essay outlines the Baptist's historical impact on the conception of Christian temporality and proceeds to demonstrate some distinct experiments in fourteenth- and fifteenth-century music for John that express his predecessory character through emblematic manipulations of temporal parameters. By the sixteenth century, several inscriptions found in Vatican manuscripts reveal that the Baptist was associated with a particular musical craft that controls masterfully the unfolding of time: the art of canon. Drawing heavily on Scripture (especially John 1:15, 27, 30) to articulate the compositional conceits, the rubrics likened the leader (dux) and follower (comes) of a canon to the relationship between John (the forerunner saint) and Jesus. The analogy intensified around the papal chapel choirbook Vatican City, Biblioteca Apostolica Vaticana, MS Cappella Sistina 38.
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Storey, H. Wayne. "Borghini’s Dilemma: Print Thinking and the Digital." Textual Cultures 13, no. 1 (2020): 1–28. http://dx.doi.org/10.14434/textual.v13i1.30069.
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The sixteenth-century Florentine philologist Vincenzo Borghini provides a model for our own examination of the influence of print as we consider the challenges, opportunities and responsibilities of producing digital editions and archives. Briefly examining several emended passages in the 1573 expurgated edition of Boccaccio’s Decameron, the essay turns to Borghini’s reliance in his 1574 Annotationi on his extensive studies of fourteenth-century Italian vernacular in manuscripts and their contrasts with the printed editions of his own day often edited — he fears — simply to sell books. Turning from Borghini’s skepticism to his own editorial work for the 2003–2004 facsimile and commentary, the author reflects upon the failures of his own edition for the print medium and how they led to the founding and development of the Petrarchive’s rich-text edition and commentary. Reflecting on two examples of the representation of the use of space in Petrarch’s medieval holograph possible only a born-digital edition, the essay concludes its brief demonstration of the deep structuring of print in philological thinking as we develop new strategies for digital philology.
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Olalla, David Moreno. "Reconstructing ‘John Lelamour’s’ Herbal: The Linguistic Evidence." Anglia 135, no. 4 (2017): 669–99. http://dx.doi.org/10.1515/ang-2017-0067.
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AbstractTwenty years ago, George R. Keiser showed that the mutilated last quire of Lincoln Cathedral, Dean and Chapter Library, MS 91 had once contained a herbal written in Middle English. He discovered moreover that passages parallel to those reconstructable for the Lincoln manuscript appear in other texts, including an important work called John Lelamour’s Herbal after a name mentioned in its explicit, and concluded that Lelamour, an otherwise unknown fourteenth-century schoolmaster from Hereford, was the author of the original treatise that Thornton and other scribes used for the composition of their own herbals. The present article will present ample evidence which will demonstrate that Keiser’s hypothesis on a Herefordian pedigree for this textual family cannot be sustained any longer, and that the origins of this textual family should in fact be sought not too far from Scotland. A linguistic approach based on a collection of scribal modifications, both unconscious and conscious ones (i. e. copy mistakes and changes made on purpose by the several copyists), will be used for the task. This will reveal how linguistic variation between the several manuscripts can be profitably used to reconstruct the dialect of the original translation, which will here consequently be named Northern Middle English Translation of Macer Floridus’s De Viribus Herbarum (or Northern Macer for short).
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Reeves, Andrew. "English Secular Clergy in the Early Dominican Schools: Evidence from Three Manuscripts." Church History and Religious Culture 92, no. 1 (2012): 35–55. http://dx.doi.org/10.1163/187124112x621257.
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AbstractAs part of their mission to preach faith and morals, the medieval Dominicans often served as allies of parochial clergy and the episcopate. Scholars such as M. Michèle Mulchahey have shown that on the Continent, the Order of Preachers often helped to educate parish priests. We have evidence that thirteenth- and fourteenth-century Dominicans were allowing parochial clergy to attend their schools in England as well. Much of this evidence is codicological. Two English codices of William Peraldus's sermons provide evidence of a provenance relating to a parish church: London Gray's Inn 20, a collection of his sermons on the Gospels, was owned by a parish priest, and Cambridge Peterhouse 211, a manuscript of his sermons on the Epistles, contains an act issued by the rector of a parish church. Another manuscript of Peraldus's sermons contains synodal statutes. As the Order of Preachers was outside of the diocesan chain of command, these statutes point to the use of these sermons by those who were subject to the episcopate. Since the Dominicans were normally forbidden from sharing their model sermon literature with secular clergy, these codices suggest a program on the part of the English province of the Order of Preachers to make sure that diocesan clergy could attend Dominican schools in order to gain the skills necessary to preach the basic doctrines and morals of the Christian faith to England's laity.
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Warlick, M. E. "Alchemy and the Transgendering of Mercury." Culture and Cosmos 19, no. 1 and 2 (2015): 99–113. http://dx.doi.org/10.46472/cc.01219.0211.
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Within late medieval alchemical texts, Latin authors adopted both classical and Arabic concepts of physical matter. They assumed that metals were composed of two polarized substances – hot, dry and masculine Philosophic Sulphur, and cool, wet and feminine Philosophic Mercury – whose ‘Chemical Wedding’ within the laboratory produced the Philosophers’ Stone. As visual illustrations developed in alchemical manuscripts and early printed books from the late fourteenth century onward, artists represented these substances with a variety of male and female characters, with Philosophic Mercury almost always depicted as a woman. At the same time, the planet Mercury, which oversaw the ripening of the metal Quicksilver within the earth, also played an important role within alchemical illustrations. This paper will examine how artists navigated this confusion by examining gendered images of the philosophical concept Mercury, the metal Mercury, and the planet Mercury, in light of shifting attitudes towards women in early modern science.
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Plumley, Yolanda. "AN ‘EPISODE IN THE SOUTH’? ARS SUBTILIOR AND THE PATRONAGE OF FRENCH PRINCES." Early Music History 22 (August 2003): 103–68. http://dx.doi.org/10.1017/s0261127903003036.
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Scholars have long been aware of the intriguing fact that the late fourteenth- and early fifteenth-century French song repertory survives almost exclusively in non-French sources. Most of the principal collections of chansons copied between c.1380 and 1420 – that is, in the period corresponding roughly to the reign of Charles VI, sources like PR, Pit, ModA and FP – derive from Italy; further witness to the circulation of this repertory south of the Alps is found in additional, fragmentary sources, such as Lu, SL and GR. In comparison, the number of French songs preserved in manuscripts of northern provenance is remarkably slight. Moreover, those works that do survive in such sources (and these are mostly Flemish fragments) are generally simple works in classic Ars nova style; hardly any songs from the repertory we associate with Ars subtilior feature in these collections at all.
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Gilányi, Gabriella. "Preservation and Creation Plainchant Notation of the Pauline Order in 14th–18th-century Hungary." Studia Musicologica 59, no. 3-4 (2018): 399–418. http://dx.doi.org/10.1556/6.2018.59.3-4.8.
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Abstract This study surveys the musical notation appearing in the liturgical manuscripts of the Order of St. Paul the First Hermit from the fourteenth until the eighteenth century. As a Hungarian foundation, the Pauline Order adopted one of the most elaborate and proportionate Gregorian chant notations of the medieval Catholic Church, the mature calligraphic Hungarian/Esztergom style, and used it faithfully, but in a special eremitical way in its liturgical manuscripts over an exceptionally long period, far beyond the Middle Ages. The research sought to study all the Pauline liturgical codices and codex fragments in which this Esztergom-Pauline notation emerges, then record the single neume shapes and supplementary signs of each source in a database. Systematic comparison has produced many results. On the one hand, it revealed the chronological developments of the Pauline notation over about four centuries. On the other hand, it has been possible to differentiate notation variants, to separate a rounded-flexible and a later more angular, standardized Pauline writing form based on the sources, thereby grasping the transition to Gothic penmanship at the turn of the fifteenth and sixteenth centuries. A further result of the study is the discovery of some retrospective Pauline notation types connected to the Early Modern and Baroque period, after the Tridentine Council. The characteristics of the notations of the choir books in the Croatian and the Hungarian Pauline provinces have been well defined and some individual subtypes distinguished – e.g. a writing variant of the centre of the Croatian Pauline province, Lepoglava.